В Лувре неизвестный напал на «Мону Лизу» и испачкал ее тортом

Нападавший посетил художественный музей в парике и на инвалидной коляске. В начале активист попытался разбить пуленепробиваемое стекло, защищающее произведение, а затем бросил в картину торт и рассыпал по полу лепестки роз, объяснив свой поступок попыткой защитить мир.

«Подумайте о Земле! Есть люди, которые разрушают ее. Все художники думают об этом. Вот почему я это сделал», — сообщил посетитель, после чего его задержали правоохранительные органы.

Сообщается, что полотно не пострадало, так как защищено бронированным стеклом. Сотрудники музея уже убрали остатки торта с шедевра. Стоимость картины, полное название которой «Портрет госпожи Лизы Джокондо», оценивается в миллиард долларов.

В 1974 году на выставке в Японии на картину уже было совершенно нападение: местная жительница попыталась распылить на полотно красную краску в знак протеста против политики музея, касающейся инвалидов. В 2009 году россиянка предприняла попытку облить картину чаем.” (Lenta.ru)

После двухлетнего перерыва возобновляются наши ежегодные экскурсии в Национальную Галерею Канады. Выставка “Canada and Impressionism: New Horizons”

“Цирк дю Солей” возвращается!

«When life gets you down, you know what you gotta do? Just keep swimming» /«Finding Nemo»/

Judy Chicago first turned to pyrotechnics as an artistic material in the late 1960s in an effort to feminize the atmosphere at a time when the California art scene was male-dominated. Between 1968 and 1974, she executed a series of increasingly complex firework pieces that involved site-specific performances around California. Judy began to create more ambitious projects that transformed beaches, parks, forests, deserts, construction sites, and museums with whirling plumes of brilliant color that were organized according to the principles she developed that use color as a metaphor for emotive states. Judy’s experiments with pyrotechnics emerged in parallel with the rise of Land art in the 1960s and 1970s, a movement that the artist’s work implicitly critiqued as being hyper-masculine and founded on large-scale interventions into the earth. The Atmospheres sometimes took place in cracks and fissures in the land, the smoke softening the landscape and eventually disappearing altogether. The title for the body of work evokes both meanings of the word atmosphere, understanding it as both the envelope of gasses encircling the planet and the pervading mood or tone of a place at a given moment in time.

Over the years, Judy has made over fifty of these site-specific pieces in parks, beaches, forests, public plazas, and other places. Her fireworks archive has been acquired by the Nevada Museum of Art as part of their major Land art collection, and Judy continues to produce what she now calls Smoke Sculptures, which involve mixing color in the air.

For the 2022 Toronto Biennial, Judy has proposed A Tribute to Toronto, a piece that will take place on a site unlike any other, working directly on a body of water for the first time—Lake Ontario. At the time of writing, Judy and her collaborators—her husband, photographer Donald Woodman and Chris Souza of Pyro Spectaculars—have been making plans and tests for releasing white, yellow, green, blue, and purple pigments from a barge into the air where they will mix with the wind and the light to create a myriad of color effects. In line with the artist’s long history of being a passionate advocate for the environment, the team uses only environmentally friendly, non-toxic materials to temporarily transform sites.

 Grand prize winners

For the 19^th annual contest, students could choose between brown trout and small-mouth bass. The overall winner will have their artwork on the front of the 2022 Young Angler’s Licence.

The next Kids’ Fish Art Contest will launch in Fall 2022. Please check back for updated dates and details.

Thanks for participating!

Saturday, February 26, 2022 —Sunday, July 3, 2022 NGC OTTAWA

“Canada’s Impressionist pioneers were innovative, experimental and daring—they made an indelible mark on Canadian art.”